This year was jam-packed with albums. The 2025 music scene saw the highly anticipated return of musicians, from the likes of Lorde and Blood Orange, to a rock revival led by the band Geese. One thing’s for sure, it’s going to be hard to forget the musical success that was delivered to listeners.
As this music cycle comes to a close, let’s have a look at some of the best albums from 2025.
Honorable Mentions
“Virgin” by Lorde
Lorde offered a sensitive and introspective album with “Virgin.” She explored what navigating womanhood means for someone in their 20s and did so beautifully. Her songwriting throughout the album is strong; however, the lack of complexity and development in her narration makes the album fall flat at times. Despite this, Lorde cements herself as a much-needed perspective in the pop world.
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“Addison” by Addison Rae
Addison Rae released her self-titled first studio album to critical acclaim. Rae’s heartfelt performance on this album captured the hearts and ears of listeners in a short amount of time. Her musical influences are easy to pinpoint, and, at times, it can be difficult to discern her real voice from the voice of her inspirations. Her growth will be exciting to watch and to keep an eye out in the years to come.
“moisturizer” by Wet Leg
“moisturizer” is a saucy and an all-around enjoyable listen. Frontwomen of Wet Leg, Rhian Teasdale and Hester Chambers, are tongue in cheek as they sing about intimacy and their irresistibility to their suitors. They give the perfect balance of sincerity and playfulness throughout the record.
Top 10
10 – “Electric Hour” by Sword II
Magic is made on “Electric Hour.” Band members Mari González, Certain Zuko and Travis Arnold have undeniable chemistry, all delivering vocals that mesh incredibly with each other. The indie rock band explores the idea of expired love, while likening emotions to seasons within a year. This record sets the bar high for itself and for other indie rock bands.
9 – “Worldwide” by Snõõper
In a high-energy frenzy, Snõõper comes out swinging right out of the gate. Lead vocalists Blair Tramel and Connor Cummins are charming in their chant-like vocals. The classic aggressive, fast-tempo drums of punk rock music drive the record through its runtime. In just 28 minutes, Snõõper says all they need to say without looking back.
8 – “Revengeseekerz” by Jane Remover
Jane Remover is not new to the hyperpop world. They have been making music for years but are only now receiving attention from critics and musicians. From working with Danny Brown to other notable hyperpop artists, 2025 was her year. “Revengeseekerz” allows their personality to shine through, accompanied by their distinguishable production. Her use of samples is eccentric. Whether it’s using Wii sound effects or Pokémon cries, Jane Remover has indeed produced a standout and recognizable hyperpop record.
7 – “NEVER ENOUGH” by Turnstile
“NEVER ENOUGH” is a classic Turnstile record. Daniel Fang performs some of the cleanest drumming for a punk band as lead singer Brendan Yates belts his lyrics. The guitars perform equally clean riffs that make each track interesting. The tracks flow impressively into each other, energy never seeming to let go despite their 45-minute runtime. Yates and company are truly the best at what they do.
6 – “Bleeds” by Wednesday
Frontwoman of Wednesday, Karly Hartzman, leaves it all out on the table with “Bleeds.”
Hartzman showcases her lyricism and storytelling throughout the record, while the band is explosive, genre-bending and the tightest it’s ever sounded. At times emotional, other times comical, this record is everything indie music should be.
5 – “I Love My Computer” by Ninajirachi
Nina Wilson’s sound is infectious. She goes by Ninajirachi, an online name she’s had since she was 15. With what can best be described as electronic, tech-house inspirations, she creates a digital landscape on her record, “I Love My Computer.” It’s a modern-age love letter to her computer, online presence and digital music production.
Her light, feminine voice against an at times aggressive backing track makes for a delicious dichotomy. In an era of advancing technology, Wilson takes an interesting approach of embracing the current high-tech era. Instead of fighting it, she understands that her computer knows her better than anyone else. It makes for intimate tracks and a more personal connection to her music.
4 – “DeBÍ TiRAR MáS FOToS” by Bad Bunny
Bad Bunny achieved massive success over the years. His latest record is a testament to his success — perhaps career defining. “DeBÍ TiRAR MáS FOToS” pays homage to his home country of Puerto Rico. More than that, it is a love letter to his culture and the music genres associated with it.
The opening track is electric. With the synths and snares often associated with reggaeton, Bad Bunny is in his bag the entire duration of the album. He sings confidently, even when mourning over a love lost. The features on this record include many Puerto Rican artists such as the indie quartet known as Chuwi, as well as the reggaeton and trap musician Omar Courtz. These artists not only enhance his sounds, but his message of Puerto Rican pride.
If there’s one album that introduces listeners to modern reggaeton, it’s this one.
3 – “Getting Killed” by Geese
Composed of Cameron Winter, Emily Green, Dominic DiGesu and Max Bassin, Geese seemingly appeared out of nowhere and took the rock world by storm. GQ claims the band is Gen Z’s “first great American rock band,” paving a new sound of rock instead of reveling in its past.
“Getting Killed” presents listeners with catchy chord progressions on an electric guitar, as well as a masterfully played — high-pitched at times — piano. The instrumentals are purposefully chaotic and pull from non-traditional rock elements. There are horns, bells and overly reverbed guitar breaks. It’s a beautiful mess that only Geese can pull off.
Despite the album lacking a clear story or direction, Geese thrives when it’s not taking itself too seriously. However, the band can still deliver on the topic of love or loneliness or any strong emotion. This album is the freshest rock has been in years.
2 – “The Passionate Ones” by Nourished by Time
Nourished by Time, or Marcus Brown, is the embodiment of grooviness. His use of up-tempo, hi-hat drums keeps the record moving swiftly as his voice is animated with emotion. Brown’s vocal inflections are some of the most interesting parts of his work. With his identifiable voice, he doesn’t shy away from hard-hitting themes that are anti-capitalist and culturally relevant.
Brown is a one-of-a-kind artist. There is no one else out there who can perform enchanting, stacked harmonies in the way he does. He cannot be put into a genre-defining box, and that’s what music needs more of.
1 –“Baby” by Dijon
There isn’t much to say about Dijon that hasn’t already been said. His production is unmatched, as well as his falsetto vocals. Traveling through major themes of domesticity, babies and adoration for his wife, only Dijon could masterfully dissect these topics.
There is constant movement on this record. Track to track follows a story of post-marriage life and the inner workings of a relationship between a married couple. Seemingly, the ups and downs of a relationship mimic the sequence of the record. The album is sonically R&B, but is more of a melting pot of soul, electronic and techno. It is so well executed and experimental that it sets itself apart from the rest.
Dijon’s love is genuine, and it is felt by listeners. If there’s one good thing that came out of this year, it has to be the lightning in the bottle that Dijon has captured with this record.
